Stage Manager Production Book?

Question:I'm having my Stage Manager Production book entered into a theatre festival. This isn’t my first sm book but it is my first time having it "graded". Any tips or things you think are commonly missed... also should it have some sort of cover or cover page? and is there any order to the way it should be arranged? Just anything you think i should keep in mind feel free to say it. I have a lot of the bases covered but im sure i missed some points... and is there anyone who has gotten their sm prompt book reviewed? what was it like? what were you told you did well/bad... etcetcetc... Thanks for your help sorry for being so wordy...

Best Answer - Chosen by Asker: I'm having my Stage Manager Production book entered into a theatre festival. This isn’t my first sm book but it is my first time having it "graded". Any tips or things you think are commonly missed... also should it have some sort of cover or cover page? and is there any order to the way it should be arranged? Just anything you think i should keep in mind feel free to say it. I have a lot of the bases covered but im sure i missed some points... and is there anyone who has gotten their sm prompt book reviewed? what was it like? what were you told you did well/bad... etcetcetc... Thanks for your help sorry for being so wordy...

I don't think that I have had a prompt book reviewed, but make them on a regular basis. I am currently working on a show where the book was originally done (badly) by someone else, so a second copy made, but with the cues in only, so no blocking or timings. I will try to remember a list of things I like in my prompt book. I realise that some may not be of use, but hope that there is something useful.

With the blocking, at the top of each page, I like to draw a small diagram of the set and the actors positions in relation to it. Next to each lighting cue, I like to have the timing, and/or description (For example: Snap Black out, or Lights up in 3). Next to each sound cue, a description (dog bark, door creak etc), next to entrance cues, who is entering. Because of this, I usually have three columns. One for blocking, one for descriptions of cues and one for cues.
On each page, every couple of minutes and entrances and exits I like to write down a timing, as sometimes approximate timings will need to be passed on to wardrobe departments to let them know how long they have for quick, or not so quick, changes. The timings will also show whether the show is running faster or slower than usual.
In the book I like to keep props setting lists (including diagrams of how tables or tea trays are laid out), diagrams of furniture layout, scene change lists (including separate fly cue lists), sound effect lists, props running lists, any recipes (dough, red wine, white wine etc), special information (where to order replacement props or specialist items such as wicks for flaming torches or bullets for prop guns).
Also cast lists (with contact numbers), creative team contact list, understudy list (if there are any understudies), any special instructions (for example: If Fred off, then George covers the role of Steven and Freda will pour the drinks in the party scene)

Essentially the book should be a record of almost everything to do with the play.

As to order, I usually put contact lists first, then props lists, then any show cue lists (I also collect copies of these from the stage crew once it has been worked out who is doing what). Just make sure that you have things separated and easy to find. In my books I usually use dividers for anything before the script. To separate Acts and Scenes, I make little tabs from pale coloured LX tape and write the act or scene on it.
I hope that there is something useful in my waffle.
Good Luck!